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Journal articles on the topic 'Goddesses'

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Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Vuong, Nguyen Hung, and Vo Thi Ngoc Giau. "The Role of Mother Goddess Worship in the Spiritual and Cultural Life of People in Lam Dong Province, Vietnam." Journal of Education, Society and Behavioural Science 36, no. 7 (May 16, 2023): 70–77. http://dx.doi.org/10.9734/jesbs/2023/v36i71237.

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The beliefs in Vietnamese Mother Goddesses Worship, commonly called Mother Goddesses, worship Mother Goddesses herself, Mother Goddess of Three Palaces and Four Palaces appear to be quite popular and have deep historical and social origins among the people of Lam Dong province, Vietnam.. Although they are all worship of feminine gods, the worship of goddesses, “Thanh Mau”, “Thanh Co”, Mother of the Three Palaces, and the Four Palaces are not completely identical. This article explores the process of formation, development and typical features of Mother Goddess worship in the cultural life of people in Lam Dong province, Vietnam. Based on the analysis of the actual situation of worshiping Mother Goddesses of the people of Lam Dong, the authors propose a number of policy implications that contribute to preserving the beauty of Mother Goddess worship and promoting the Vietnamese culture of progressive, imbued with beautiful national identity.

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2

Prychepii, Yevhen. "Four- and eight-membered structures with a rhombus in the center in the geometric ornaments of Podillya embroidery." Culturology Ideas, no. 22 (2'2022) (2022): 131–47. http://dx.doi.org/10.37627/2311-9489-22-2022-2.131-147.

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The subject of research is the structure of geometric ornaments, in the center of which there is a rhombus, and on the periphery there are eight or four symbols. (figure 7, 8, 14). It is stated in this article that these structures symbolise the Cosmos of the ancient people: rhombus in the centre of structure denotes the dungeon and four (eight) symbols on the periphery denote a certain sphere of life. Structures with four symbols on the periphery, which are more common in ornaments, denote the four goddesses. The principles of constitution of these goddesses are considered. Their images are formed from two rhombuses-a common rhombus, which denotes the dungeon (or vulva of the goddess), and a separate rhombus-head. The rhombus and rhombuses are connected by symbols, which are popularly called "ram horns" and "hearts". The author identifies them as the "hands" of the goddess and believes that they are used to form the "poses" of the goddesses. Three ornamental types of goddesses with different poses have been identified: the goddess in the "hands on hips" pose, the goddess in the "oranta" pose, and the goddess with hands in the shape of a "heart". The samples of ornaments, which are inherent in these poses, are considered. The heart-shaped goddess is identified as the vulva goddess, the hands-on-hips goddess as the head goddess, and the oranta goddess as the Great Goddess. It is argued that the study of the "poses" (hand shapes) of conventional figurines of goddesses can open up a new perspective in understanding the semantics of ornaments.

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3

Budin, Stephanie. "A Reconsideration of the Aphrodite-Ashtart Syncretism." Numen 51, no. 2 (2004): 95–145. http://dx.doi.org/10.1163/156852704323056643.

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AbstractScholars have long recognized a one-to-one correspondence, or interpretatio syncretism, between the Greek goddess Aphrodite and the Phoenician goddess Ashtart (Astarte). The origin of this syncretism is usually attributed to the eastern origins of Aphrodite herself, whereby the Greek goddess evolved out of the Phoenician, as is suggested as early as the writings of Herodotos. In contrast to this understanding, I argue here that the perceived syncretism actually emerged differently on the island of Cyprus than throughout the rest of the Mediterranean. On Cyprus, the syncretism emerged out of an identification between the two queen goddesses of Cyprus - Aphrodite and Ashtart. In Greece, by contrast, it evolved out of a slow "Orientalizing" of Aphrodite combined with a Greek tendency to equate almost all eastern goddesses. As a result, the identification between Aphrodite and Ashtart was quite general, and both goddesses were syncretized not only with each other, but with a full range of Mediterranean goddesses.

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4

Prychepii, Yevhen. "Eight-membered ornament structures on Trypillia bowls and pots." Interdisciplinary Cultural and Humanities Review 2, no. 2 (2023): 20–31. http://dx.doi.org/10.59214/2786-7110-2023-2-2-20-31.

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The origin of ornaments and their semantics is a problem that has not been sufficiently examined in modern science. The purpose of the study is to clarify the semantics of Trypillia ceramic ornaments using the structural method. The structures of bowl ornaments that are formed from eight symbols are examined. There are two types (A and B) of symbols in the structure. It is established that four characters A are interspersed with four characters B. The characteristic features of symbol A and symbol B are determined. It is hypothesised that the symbol A stands for gods, and the symbol B – goddesses. Eight-membered structures of ornaments on pots are examined. It is shown that they are also formed from four symbols of gods and four symbols of goddesses. The specifics of the formation of symbols of goddesses are traced. It is presented that in the ornament behind the symbols of the goddesses, in one case, one goddess is hidden in another – the three goddesses. It is believed that one goddess symbolises the Cosmos as a whole or the Moon, and the three goddesses embody the three main spheres of the Cosmos – the underworld, the sphere of life, and the sky or the three phases of the Moon. The study helped to establish the patterns of the formation of ornaments and form a hypothesis, according to which the symbols of ornaments hide the four gods and the four goddesses of Trypillia. Identification of the patterns of formation of Trypillian ornaments can serve as a key for delving into the semantics of ornaments of other archaic cultures and the semantics of traditional folk ornaments, in which the cult of the goddess can be traced

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5

Fehlmann, Meret. "Ancient Goddesses for Modern Times or New Goddesses from Ancient Times?" International Journal for the Study of New Religions 8, no. 2 (December 6, 2018): 155–81. http://dx.doi.org/10.1558/ijsnr.37402.

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This paper deals with the way the goddess(es) of ancient Crete and Greece are imagined and reappropriated in the feminist spirituality movement. It offers an overview over the different metamorphoses of these ancient goddesses in the twentieth century, and takes a closer look at the goddess-related work of Carol P. Christ.

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6

Yadav, Megha. "Disease, Demon, and the Deity: Case of Corona Mātā and Coronāsur in India." Religions 13, no. 11 (October 26, 2022): 1011. http://dx.doi.org/10.3390/rel13111011.

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As India faced multiple waves of the pandemic, religious responses arose to accommodate and make sense of the situation. In the face of uncertainty, disease and death, people turn not just towards the medical sciences but also religion. The emergence of a new Hindu goddess, Corona Mātā/Coronavirus Mardhinī encapsulates people’s fear, faith, and devotion. Although the goddess is new, the tradition of disease goddesses is ancient. The Indian Subcontinent has a long history of mother goddesses who have been protecting their devotees from diseases such as smallpox, fever, plague, etc. This paper attempts to examine the emergence of Corona Mātā in the historical context of these ‘protective mothers’. On one hand, historically, these goddesses have emerged as a result of interaction between Brahmanical religion and regional practices. On the other hand, these disease-centred goddesses can also be seen as the result of fear and faith. This paper will analyse the location of Corona Mātā in the ever-evolving pantheon of Hindu deities in the context of a 21st-century pandemic.

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7

Prychepii, Yevhen. "The Image of the “Deer Goddess” in Geometric Ornaments of Women’s Podolian Shirts." Culturology Ideas, no. 16 (2'2019) (2019): 110–27. http://dx.doi.org/10.37627/2311-9489-16-2019-2.110-127.

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The purpose of this article is to analyze the semantics of ‘deer goddess’ images in geometric ornaments (the ornaments of the female shirts of Podillya are taken as a sample). Methodology. Based on the proto-myth concept developed by the author, he distinguishes the structures of symbols in geometric ornaments identified as the image of the ‘deer goddess’. Results. The article distinguishes three subtypes of ‘deer goddess’ images based on which variants of ornaments were formed. These variants of ornaments were ‘constructed’ according to the same rules: ornaments with one goddess (fig. 2‒4, 13, 19), ornaments with two goddesses with joint thighs (fig. 6‒8, 13‒15, 20), ornaments with four goddesses (fig. 9, 10, 16, 17, 21), and ornaments formed from individual symbols of the goddess (fig. 11, 12, 18, 22). For comparison, some ornaments on the ‘theme’ of a deer in the embroidery of the Russian North were analyzed (fig. 23‒25). Novelty. For the first time in the practice of ornaments analyzing, the image of the ‘deer goddess’ was highlighted, the transformations of these images in the ornaments were traced, the relationship of these transformations with the structures formed by the goddesses on the Paleolithic and Neolithic artifacts was shown. The practical significance. The research showed that the geometric ornament has retained its semantics accessible to understanding. This allows us to more adequately assess the role of ornament in the spiritual culture of mankind.

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8

Bühnemann, Gudrun. "The Goddess Mahā;cīnakrama-Tārā (Ugra-Tārā) In Buddhist And Hindu Tantrism." Bulletin of the School of Oriental and African Studies 59, no. 3 (October 1996): 472–93. http://dx.doi.org/10.1017/s0041977x00030603.

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It is well known that some goddesses are worshipped in both the Buddhist and Hindu Tantric traditions. A form of the Buddhist Vajrayoginī, accompanied by Vajravarṇanī and Vajravairocanī, is the prototype of the Hindu Chinnamastā accompanied by Ḍākinī and Varṅinī. Forms of Ekajaṭā and Mañjughoṣa were adopted from the Buddhist pantheon into the Hindu and worshipped by the same name. Usually it is not easy to trace how and when these adaptations took place. In the case of Mahācīnakrama-Tārā, a special form of Tārā, it has long been suspected that the goddess was imported from the Buddhist Tantric pantheon into the Hindu pantheon. In this paper I demonstrate, on the basis of clear textual evidence, how the goddess's description in a Buddhist sādhana was incorporated into the Hindu Phetkāriṅītantra, which was then quoted as an authoritative source regarding the goddess by later Hindu Tantras. I further examine representations of the goddess in art, and provide a new edition and translation of two sādhanas of Mahācīnakrama-Tārā.

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9

Bolshakov, Vladimir A. "About the character of deification of the Egyptian Queens of the New Kingdom." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 3 (2023): 33. http://dx.doi.org/10.31857/s086919080025052-4.

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The article analyzes the character of deification of Queens of the New Kingdom on the basis of their official representation in Egyptian pictorial and textual evidence. In order to reveal the nature of the deification of Queens and the essence of their theological role as a whole, the article discusses specific methods and features of assimilation of Queens with the goddesses. (first of all, goddesses Hathor, Isis, Maat, Mut, Nekhbet) or goddess of the solar-Eye (Hathor/Tefnut). By “deification” the author means endowing a Queen with the features of a goddess, and two aspects of this phenomenon are distinguished: the deification of living and dead Queens. The focus of the present study is only the deification of living Queens. The author puts the trend to assimilate them with goddesses in close relationship with the evolution of the ideology of royal power and the so-called “solarization” of the image of the ruling king, which reached its maximal expression under Amenhotep III and Ramses II (the period of Akhenaten’s reign which deserves a special study was deliberately omitted). The bulk of the evidence for this trend is provided by pictorial sources, and in particular, the individual iconography of Queens. The study of the selection of sources allows drawing a fundamental conclusion that there were undoubtedly various semantic parallels between the Queens and the principal goddesses of the Egyptian pantheon. Nevertheless, the assimilation of Queens with the goddesses, with some exceptions, did not reach a level of complete identification with the latter, and these parallels themselves were drawn mainly means of iconography, and not laudatory phraseology.

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Narto, Amad, Karolus Geleuk Sengadji, and Muhammad Farhan Ramadhan. "Design of the Process of Ascending and Descending of Davits on Lifeboats Automatically." RSF Conference Series: Engineering and Technology 3, no. 1 (October 5, 2023): 140–44. http://dx.doi.org/10.31098/cset.v3i1.737.

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The Davits on lifeboats is a tool for lowering a lifeboat where the lifeboat is a means of rescue when an accident occurs. A lifeboat is designed to save human lives in case of trouble at sea. A lifeboat generally refers to a vehicle carried by a larger ship for use by passengers and crew in an emergency. Researchers here use the RnD method, starting research at the time of marine practice on the MT ship. Fortune Pacific xlix, when researchers practice, researchers began to make observations of lifeboats and goddesses on board. Researchers began to make a frame of mind to design goddesses on lifeboats automatically. After that, researchers made skeleton designs of lifeboat goddesses and carried out mechanical and electronic designs. Researchers also tested mechanical and electronic devices after testing. Researchers began to find problems with goddess poles and ropes, then revised the product after revising the product. Researchers make product improvements. The process of making the design of the rise and fall of the goddesses on the lifeboat automatically through data collection methods in the form of observation, documentation, and data analysis methods begins with the design of the tool design in the form of the tool-making stage, trial stage, and evaluation stage and has been validated by Mr. Anang Budhi Nugroho M.Eng as a lecturer at the Semarang Shipping Science Polytechnic and in the process of making goddesses on the lifeboat automatically is also assisted by Nur Rokhim is a programmer who is currently carrying out education at UNNES. The suggestion for use in this design is not only to be applied to the system of rising and falling goddesses on lifeboats but can be applied to the shipping industry, which in its work intersects goddesses on lifeboats. Then the important process is to make an initial concept of the design model that will be made automatic by relying on electronics and mechanics on the tool.

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11

Shevchenko, Tetiana. "Terracotta Figurines of Goddesses on Thrones from Borysthenes." Eminak, no. 3(35) (November 13, 2021): 179–200. http://dx.doi.org/10.33782/eminak2021.3(35).551.

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Figurines of goddesses on the throne were the main coroplastic images of ancient centers of the archaic period. They predominate among figurines from Borysthenes as well. The peculiarities of the image of such goddesses are studied on the example of the collection of similar terracotta figurines stored in the Scientific Funds of the Institute of Archaeology of the National Academy of Sciences of Ukraine. Most often, they were so homogenous that it is easy to identify the image from very small fragments. But in Borysthenes, a number of peculiar items were found showing a variety of attributes, as opposed to other centers of the Northern Black Sea region. This is a goddess with a child, with varieties: a child wearing a pillius or in the form of a potbellied God; goddess with animal features: with the head of a bear or in the form of a monkey with a baby; a goddess with a paredros wearing a pillius; with a dove in her hands. In the absence of attributes, the headdresses differ, and among them, the high polós was of a cultic significance. It is concluded that one should not hasten to correlate the image of the goddess on the throne without attributes with the cult of a definite goddess. The figure of the goddess with her hands on her knees with no distinctive features could be intended for use in various cults. Therefore, there is a need to reconsider the tradition of defining such unattributed images as Demeter’s, typical of the written sources devoted to the Northern Black Sea region. In the archaic period, the number of coroplastic workshops was significantly smaller than in subsequent periods, when attributes had become a more frequent addition to the image. Most of the analyzed items are from the Eastern Mediterranean. Therefore, the decrease in the percentage of the number of Demeter and her daughter images in the subsequent periods took place due to the reduction of images common to many goddesses and their diversity. The variety of archaic times images of goddesses on the throne in Borysthenes is an interesting phenomenon, but it should be explained not so much by the exceptional amount of cults but the extensive links with various sanctuaries having their own coroplastic workshops. The cults that used images of the goddess on the throne were associated with the least known Cabeiri (Kabeiroi), as well as Dionysus, Demeter, Artemis, Aphrodite, the Mother of the Gods, and other deities whose attributes remained clear to followers without their image.

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12

Molnár, Annamária. "Ut clare mulieres ampliores sint numero." Antikvitás & Reneszánsz, no. 2 (January 1, 2018): 99–114. http://dx.doi.org/10.14232/antikren.2018.2.99-114.

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Boccaccio, standing between the Middle Ages and the Renaissance, uses specific methods of systematization and techniques when he decides to write (even many times if necessary) the biographies of the goddesses of Greco-Roman mythology. What influences his methods? Is it important which description of a goddess into which work of his – Genealogia deorum gentilium or De mulieribus claris or both – he intends to insert? What kind of literary sources does he rely on while writing these biographies? My paper starts a reckless „Minerva-counting” and describes the problem through the figure of one of the most important goddesses of the ancient culture.

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13

Lefkowitz, Mary R. "“Predatory” Goddesses." Hesperia 71, no. 4 (October 2002): 325–44. http://dx.doi.org/10.2972/hesp.2002.71.4.325.

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Lefkowitz, Mary R. ""Predatory" Goddesses." Hesperia 71, no. 4 (October 2002): 325. http://dx.doi.org/10.2307/3182040.

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Oppel, Frances. "Irigaray's goddesses." Australian Feminist Studies 9, no. 20 (December 1994): 77–90. http://dx.doi.org/10.1080/08164649.1994.9994744.

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16

Wakoski, Diane. "Healing Goddesses." Literature and Medicine 15, no. 1 (1996): 64–73. http://dx.doi.org/10.1353/lm.1996.0013.

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17

Zhang, Zhenjun. "Two Modes of Goddess Depictions in Early Medieval Chinese Literature." Journal of Chinese Humanities 3, no. 1 (February 8, 2017): 117–34. http://dx.doi.org/10.1163/23521341-12340046.

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Early medieval Chinese literature depicts two modes of goddesses, derived from the two masterpieces attributed to Song Yu, “Rhapsody on the Goddess” and “Rhapsody on Gaotang.” Since Cao Zhi’s “Rhapsody on the Goddess” overshadowed other works among rhapsodies and poems, it appeared as if the influence of “Rhapsody on Gaotang” had stopped. This study reveals the two lineages of goddess depictions in medieval Chinese literature, showing that the “Goddess of Love” has never disappeared.

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18

VICZIANY, MARIKA, and JAYANT BAPAT. "Mumbādevī and the Other Mother Goddesses in Mumbai." Modern Asian Studies 43, no. 2 (March 2009): 511–41. http://dx.doi.org/10.1017/s0026749x0700340x.

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AbstractMumbādevī is the patron Goddess of the city of Mumbai, one of the largest and most cosmopolitan cities of Asia. Local traditions say that Mumbādevī was a Koḷī Goddess and worshipped by the indigenous Koḷī fisher community for centuries. However, since the turn of the twentieth century the temple of Mumbādevī and the rituals surrounding the Goddess have gradually been Sanskritised. Today, Mumbādevī is more closely associated with the Gujarati community. This paper examines this transformation and in doing so reflects on the survival of Mumbādevī, the ongoing popularity of Goddess worship in Mumbai and the failure of Hindu fundamentalists to subordinate the Mother Goddesses of Mumbai to a more limited range of Hindu Gods.

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19

Starostina, A. B. "Chinese Legends about the Construction Sacrifice in the 8<sup>th</sup> — 9<sup>th</sup> Centuries and Worship of the Smithing Goddesses." Orientalistica 6, no. 1 (April 24, 2023): 144–57. http://dx.doi.org/10.31696/2618-7043-2023-6-1-144-157.

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Legends of women who threw themselves into a smelting furnace and became patron goddesses of blacksmiths and founders (so-called tou lu shen) have existed in China since the 8th century. Cults for such goddesses have been common in many regions for more than a thousand years, but their origins remain unknown. Two Tang stories about the construction of city walls in Balkh and Fenzhou, respectively, must be considered as parallels to the first surviving record of the legend of a goddess of the furnace. Identifying the motifs that make up these stories in turn allows us to establish their affinity with a group of Indian and Eastern European tales of walled-up wives.

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Starostina, A. B. "Chinese Legends about the Construction Sacrifice in the 8<sup>th</sup> — 9<sup>th</sup> Centuries and Worship of the Smithing Goddesses." Orientalistica 6, no. 1 (April 24, 2023): 164–78. http://dx.doi.org/10.31696/2618-7043-2023-6-1-164-178.

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Legends of women who threw themselves into a smelting furnace and became patron goddesses of blacksmiths and founders (so-called tou lu shen) have existed in China since the 8th century. Cults for such goddesses have been common in many regions for more than a thousand years, but their origins remain unknown. Two Tang stories about the construction of city walls in Balkh and Fenzhou, respectively, must be considered as parallels to the first surviving record of the legend of a goddess of the furnace. Identifying the motifs that make up these stories in turn allows us to establish their affinity with a group of Indian and Eastern European tales of walled-up wives.

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21

Mundal, Else. "The position of the individual gods and goddesses in various types of sources - with special reference to the female divinities." Scripta Instituti Donneriani Aboensis 13 (January 1, 1990): 294–315. http://dx.doi.org/10.30674/scripta.67181.

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In the written sources the gods are arranged in a patriarchal family structure with Odin on the top. If we try to rank the gods in order of precedence on the basis of the number of instances in the toponymic material, Odin would be found a good way down the list. Generally, we should expect gods connected with the cult of fertility and the agricultural society to be overrepresented in the toponymic material in comparison with a god of war. If we consider our literary sources and ask which of the goddesses' names are most frequently used as basic words in kenningar for women, we see that many of the more "unknown" goddesses are very well represented in this material. In the toponymic material, it was the leading goddess who was considered to be the leading god's wife, but not necessarily. Both Frigg and Freyja belong to the type of fertility goddess.

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Regmi, Bhawana Pokharel, Bed Nath Sharma, and Yashoda Gautam Ghimire. "The Practice of Worshipping Goddesses in Tal Barahi and Bindhyabasini Temples: Implications for Promoting Dignity of Women." Prithvi Journal of Research and Innovation 5 (December 15, 2023): 10–22. http://dx.doi.org/10.3126/pjri.v5i1.60688.

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The Pokhara valley, with so many Hindu temples of goddesses, offers an unexplored relationship between the stories documented about the goddesses, their worship and women’s dignity. This paper explores two of these monuments namely Tal Barahi and Bindhyabasini with an aim to find out their latent religious existence and socio-cultural implications. Through an ethnographic inquiry and narrative analysis, it excavates the links between the stories documented, the worship practice, and the symbolic meaning that exists behind them. Along with the narratives afloat on mythical, narrative, and local cultural grounds of these religious abodes, this study focuses on the message to acknowledge, accept, and respect women, which the practice of goddess worship exudes. The paper concludes that the goddess worship is a custom that commenced as a form of veneration to their attributes of human welfare, it advocates free will and agency for women, thus bearing the possibility to be adapted as a religious tool to promote women's dignity.

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Lange-Athinodorou, Eva. "Implications of geoarchaeological investigations for the contextualization of sacred landscapes in the Nile Delta." E&G Quaternary Science Journal 70, no. 1 (February 12, 2021): 73–82. http://dx.doi.org/10.5194/egqsj-70-73-2021.

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Abstract. Key elements of sacred landscapes of the Nile Delta were lakes, canals and artificial basins connected to temples, which were built on elevated terrain. In the case of temples of goddesses of an ambivalent, even dangerous, nature, i.e. lioness goddesses and all female deities who could appear as such, the purpose of sacred lakes and canals exceeded their function as a water resource for basic practical and religious needs. Their pleasing coolness was believed to calm the goddess' fiery nature, and during important religious festivals, the barques of the goddesses were rowed on those waters. As archaeological evidence was very rare in the past, the study of those sacred waters was mainly confined to textual sources. Recently applied geoarchaeological methods, however, have changed this situation dramatically: they allow in-depth investigations and reconstructions of these deltaic sacred landscapes. Exploring these newly available data, the paper presented here focuses on the sites of Buto, Sais and Bubastis, by investigating the characteristics of their sacred lakes, canals and marshes with respect to their hydrogeographical and geomorphological context and to their role in ancient Egyptian religion and mythology as well.

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Milbrath, Susan. "Decapitated Lunar Goddesses in Aztec Art, Myth, and Ritual." Ancient Mesoamerica 8, no. 2 (1997): 185–206. http://dx.doi.org/10.1017/s095653610000167x.

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AbstractAztec images of decapitated goddesses link the symbolism of astronomy with politics and the seasonal cycle. Rituals reenacting decapitation may refer to lunar events in the context of a solar calendar, providing evidence of a luni-solar calendar. Decapitation imagery also involves metaphors expressing the rivalry between the cults of the sun and the moon. Huitzilopochtli's decapitation of Coyolxauhqui can be interpreted as a symbol of political conquest linked to the triumph of the sun over the moon. Analysis of Coyolxauhqui's imagery and mythology indicates that she represents the full moon eclipsed by the sun. Details of the decapitation myth indicate specific links with seasonal transition and events taking place at dawn and at midnight. Other decapitated goddesses, often referred to as earth goddesses with “lunar connections,” belong to a complex of lunar deities representing the moon within the earth (the new moon). Cihuacoatl, a goddess of the new moon, takes on threatening quality when she assumes the form of a tzitzimime attacking the sun during a solar eclipse. The demonic new moon was greatly feared, for it could cause an eternal solar eclipse bringing the Aztec world to an end.

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Thi Van, Huong Mai, Loan Nguyen Thi Thanh, and Linh Ha Thi Thuy. "THE CULTURAL SIGNIFICANCE OF THE PROCESSION OF THE MOTHER GODDESS AT THE Y LA MOTHER GODDESS TEMPLE IN TUYEN QUANG PROVINCE." International Journal of Education and Social Science Research 06, no. 02 (2023): 243–51. http://dx.doi.org/10.37500/ijessr.2023.6222.

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Festivals are forms of cultural events and community gatherings. Tuyen Quang province is known for hosting many festivals, including the procession of Mother Goddess at Y La Mother Goddess temple, located in Y La Ward, Tuyen Quang City. This festival is closely tied to the worship of the Mother Goddesses and holds significant cultural and economic significance, such as reflecting the spiritual life, preserving and developing local culture, and contributing to the local economy.

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Bright, Robin Aaron. "Zippo Marx." CINEJ Cinema Journal 6, no. 1 (September 14, 2017): 71–83. http://dx.doi.org/10.5195/cinej.2017.151.

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Goddesses, like Norse Hel, signify love for women, and between women, because `woman`s seed` is the `seed` of Eve represented by Jesus, who was tortured to death by the Romans as a `dissident` Jewish rabbi nailed to a cross of wood on the hill of Calvary outside the city of Jerusalem in occupied Palestine and left there until he died. Jesus` Resurrection and Ascension to heaven thereafter prefigured that of `woman`s seed`, which is why his mother, the Virgin Mary, approaches to the role of goddess in Christianity, because women who`re loved appear to be worshipped as goddesses by those who don`t love women. So God specifically punishes Eve and Adam for accepting that they`ll be `as gods`, because Eve is Adam`s `goddess`, who he`s to love in order to be redeemed through `woman`s seed`, and the birth of human brainpower to liberate the species from host womb slavery in parasitism, which wants ephemerality for humans in order to keep them as slaves without labor saving technologies conferring freedom.

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Hodge, Joanna. "Goddesses of Destiny." New Nietzsche Studies 4, no. 3 (2000): 107–24. http://dx.doi.org/10.5840/newnietzsche2000/200143/417.

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Paveau, Marie-Anne. "Sluts and goddesses." Questions de communication, no. 26 (December 31, 2014): 111–35. http://dx.doi.org/10.4000/questionsdecommunication.9253.

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Diamond, Catherine. "Twelve Goddesses (review)." Theatre Journal 59, no. 4 (2008): 679–80. http://dx.doi.org/10.1353/tj.2008.0006.

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Young, Serinity, David Gordon White, Bernard Faure, Rachel Fell McDermott, and Jeffrey J. Kripal. "Goddesses of Power." Women's Review of Books 21, no. 4 (January 2004): 18. http://dx.doi.org/10.2307/4024377.

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LiDonnici, Lynn R. "The Images of Artemis Ephesia and Greco-Roman Worship: A Reconsideration." Harvard Theological Review 85, no. 4 (October 1992): 389–411. http://dx.doi.org/10.1017/s0017816000008208.

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In a recent essay, Nicole Loraux identified a pattern of scholarly dependence on the origins of a particular deity for the interpretation of how human beings at various, specific times and places related to and used that figure to meet the needs of their lives. Shifting social and political conditions, such as the development and modification of the Athenian polis, led to changes in people's religious needs and are reflected by modifications, sometimes radical, in the conceptualization and worship of their gods. Loraux discussed the problems that this scholarly perspective brought to the study of goddesses in particular, where focus on the origins of many goddesses in a hypothesized worship of a Great Goddess of fertility can obscure our understanding of the ways in which these figures met the needs of individuals and cities at specific points in antiquity.

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Green, David. "What Men Want? Initial Thoughts on the Male Goddess Movement." Religion and Gender 2, no. 2 (February 19, 2012): 305–27. http://dx.doi.org/10.1163/18785417-00202007.

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This article examines the sociological dynamics of a number of contemporary Pagan men who venerate goddesses. Rejecting both mythopoetic and normative Western social constructions of masculinity, the Male Goddess Movement (MGM) equates social problems with traits usually associated with masculinity such as aggression and competitiveness. The MGM is built around the interiorization of the female antitype as a form of liberation from these dogmas of masculinity. In this respect ritual practice centred on Goddesses becomes of central importance to the performance of non-essentialized and enchanted forms of masculinity. This interiorization and ritualization has importance for both theory and practice. In sociological terms the MGM marks a new form of gendered religious practice which deliberately resists epistemological labels such as ‘modern’ or ‘postmodern’. Within Contemporary Paganisms it marks a new second wave of masculinist consciousness which, contrary to mythopoetic constructions of masculinity, seeks to dismantle essentialist forms of gender difference.

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Xiang, Junyu. "The Evolution of the Female Image in Western Art from Aphrodite to Rosie the Riveter." BCP Education & Psychology 7 (November 7, 2022): 360–65. http://dx.doi.org/10.54691/bcpep.v7i.2688.

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In this paper, we will discuss the worship of fertility goddesses around the world and how these practices inform female figures as they appear in Western art. Aphrodite, or Venus, is a key figure in our discussion. In this study, we will focus on her origin, figures, and characteristics. We will also investigate female images from the later time when Europe became a fully patriarchal society. These images evidenced a shift from a muscular and curvaceous body to a soft and submissive-looking one. Once the feminist movement was underway, images from the ancient Greek and Roman period were revived and reemerged in new ways. In this paper, we’ll use Rosie the Riveter as a modern example for study. As the message and intent of artists throughout history makes clear: the ancient goddess’s expression of “Heroic Femininity” is still full of life in today’s context. Venus, the goddess of love, sex, justice, and fertility, created with a body to be desired by man, has become, in a new world setting – a beacon for women’s equal rights and freedom.

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Hossain, Md Kohinoor. "DEATH IN 2020 AND A COVID-19 GREAT EPIDEMIC: AN ISLAMIC ANALYSIS." Psychosophia: Journal of Psychology, Religion, and Humanity 2, no. 2 (December 27, 2020): 126–41. http://dx.doi.org/10.32923/psc.v2i2.1303.

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Only love to almighty Allah is the greatest love. From ages to ages, Allah has sent his messengers to preach only love to Him. Many destructions, disruptions, and explosions have occurred in this world. This paper tries to explore the causes of the great disasters in the world. The global people when they lead an invalid way, there occurs a terrible crisis. None of the worlds saves it. Only Allah can save global people. Today, the present world is full of share-ism, idolatry-ism, usury-ism, zakat-free-ism, killing-ism, injustice-ism, and inhumanity-ism. They practice about Gods and Goddesses. They believe that the sun, the moon, the stars, the trees, the stone, the angels, the jinn, and other animals can reach Allah. They are the dearest persons who are God, Gods, Goddess, and Goddesses related. Above eleven million people think and say that there is no creator of the universe. It is operating as automated. Marriages and sexism are human to animal. They practice as same-sex, polygamy, polygyny, and polyandry. Most of the global people pray to Materials, Death Guru, God, Gods, Goddess, Goddesses, Peer, Saai, Baba, Abba, Dihi Baba, Langta Baba, Khaja Baba, Joy Guru, Joy Chisty, Joy Baba Hydery, Joy Maa Kali, Maa Durga, Moorshid Kibla, Baba Haque Bhandary, Joy Ganesh Pagla, Joy Deawan Baggi, Joy Chandrapa, Joy Sureshwaree, Fooltali Kebla, Sharshina Kebla, Foorfoora Kebla, Joy Ganapati, Joy Krishnan, Joy Hari, Joy Bhagaban and Mazzarians. The new religions have preached in the world such as Baha’i, Kadyany, Khaljee, Din-E-Elahi, Brahma, and Humanism. The world is full of Shirkism, Moonafikism, Goboatism, Bohtanism, Mooshrikiaism, Oathlessism, and Khianotkariism. In the past, undetermined civilizations have vanished but none can save civilization. This Covid-19 great destruction is human-made. It is from climate change that comes to the global people as a great curse.

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Smears, Ali. "Mobilizing Shakti: Hindu Goddesses and Campaigns Against Gender-Based Violence." Religions 10, no. 6 (June 13, 2019): 381. http://dx.doi.org/10.3390/rel10060381.

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Hindu goddesses have been mobilized as powerful symbols by various groups of activists in both visual and verbal campaigns in India. Although these mobilizations have different motivations and goals, they have frequently emphasized the theological association between goddesses and women, connected through their common possession of Shakti (power). These campaigns commonly highlight the idea that both goddesses and Hindu women share in this power in order to inspire women to action in particular ways. While this association has largely been used as a campaign strategy by Hindu right-wing women’s organizations in India, it has also become a strategy employed in particular feminist campaigns as well. This article offers a discourse analysis of two online activist campaigns (Priya's Shakti and Abused Goddesses) which mobilize Hindu goddesses (and their power) in order to raise awareness about gender-based violence in India. I examine whether marginalized identities of women in India, in relation to caste, class and religious identity, are represented in the texts and images. To do so, I analyze how politically-charged, normative imaginings of Indian women are constructed (or maintained). This analysis raises questions about the usefulness of employing Hindu goddesses as feminist symbols, particularly in contemporary Indian society, in which communal and caste-based tensions are elevated.

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Burdo, Nataliia. "Goddesses and the Moon: Images and Symbols of Сuсuteni–Trypillia." Archaeologia Lituana 23 (December 30, 2022): 53–78. http://dx.doi.org/10.15388/archlit.2022.23.3.

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Maria Gimbutas devoted three fundamental monographs to the study of the religion of prehistoric Europe and the Goddess who, in her opinion, reigned in the sacred space of the population of Neolithic Europe. She believed that modern European civilization has its origins in the early agricultural societies of the Neolithic period from the 7th to the 3rd millennia BC, which corresponds to the term “Old Europe”. According to the researcher, the Great Triune Goddess, associated with the cycle of “birth, nurturing, growth, death, and regeneration”, played a dominant and all-encompassing role in the religion of Old Europe, the “goddess religion”. The analysis of the pictorial tradition of the Cucuteni–Trypillia cultural complex allows us to assert that, in addition to female characters, probably goddesses, the symbolism of the Moon, lunar cycles and sacred images related to the semantic field of the Moon were of particular importance during near 2000 years.

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Jacobson, Howard. "ASHERAH AND APHRODITE: A COINCIDENCE?" Classical Quarterly 65, no. 1 (April 2, 2015): 355–56. http://dx.doi.org/10.1017/s0009838814000822.

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It has long been known that there is a significant connection between Aphrodite and Semitic goddesses. In Walter Burkert's recent words, ‘Behind the figure of Aphrodite there clearly stands the ancient Semitic goddess of love, Ishtar-Astarte.’ This was already recognized by Herodotus (1.105, 131) and Philo of Byblos (Eus.Prep. evang.1.812). I want here to note a curious and striking item of connection that has not been noticed.

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Rajarajan, R. K. K. "Sempiternal ‘Pattiṉi’: Archaic Goddess of the Vēṅkai-tree to Avant-garde Acaṉāmpikai." Studia Orientalia Electronica 8, no. 1 (August 21, 2020): 120–44. http://dx.doi.org/10.23993/store.84803.

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A seal of the Indic culture represents a goddess standing close to a tree and receiving sacrifices. Seven more goddesses, hypothetically the Ēḻukaṉṉimār or Sapta Mātṛkā, are linked with the Tree Goddess. The ancient Tamil Caṅkam literature, the Naṟṟiṇai and Cilappatikāram (c.450 ce), mention a goddess of the vēṅkai tree, the Vēṅkaik-kaṭavuḷ. In Tiṭṭakuṭi in south Ārkkāṭu district is located a temple dedicated to Vaidhyanāthasvāmi, the goddess called Acaṉāmpikai or Vēṅkai-vaṉanāyaki (cf. Dārukavana or Vaiṣṇava divyadeśa-Naimisāraṇya). The presiding goddess of Tiṭṭakuṭi, according to the sthalapurāṇam, based on oral tradition (twelfth to eighteenth centuries), is the “Mistress of the vēṅkai forest”. Alternatively, in Caṅkiliyāṉpāṟai (Tiṇṭukkal district) located in the foothills of Ciṟumalai, the Sañjīvi-parvata (‘hill of medicinal herbs and trees’) associated with Hanūmān of Rāmāyaṇa fame is a centre of folk worship. Recently, scholars claim to have discovered some pictographic inscriptions there resembling the Indic heritage. Several hypaethral temples to Caṅkili-Kaṟuppaṉ (‘The Black One Bound with an Iron Chain’), the Ēḻukaṉṉimār (‘Seven Virgins’), and the [Ārya]-Śāsta (equated with Ayyappaṉ of Śabarimalā) receive worship. On certain occasions, people from the nearby villages congregate to worship the gods and goddesses and undertake periodical and annual festivals. It seems that a “sacred thread” links the archaic traditions of the Indic culture (c.2500 bce) with the contemporary faiths (see Eliade 1960; Brockington 1998; Shulman & Stroumsa 2002) of Tiṭṭakuṭi and Caṅkiliyāṉpāṟai. This article examines the story of the Tree Goddess, the neo-divinity (vampat-teyvam) or numen (cf. Vedic devamātṛ-Aditi), with references to the Caṅkam lore, datable to the third century bce (cf. “Chōḍa Pāḍā Satiyaputo Ketalaputo” in Aśoka’s Girnar Edict; cf. Mookerji 1972: 223), Vēṅkaikkaṭavuḷ, Acaṉāmpikai of Tiṭṭakuṭi, and the Caṅkiliyāṉpāṟai vestiges.

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Osterman, Jasmina. "Great goddesses of Mesopotamia." Radovi Zavoda za hrvatsku povijest Filozofskog fakulteta Sveučilišta u Zagrebu 46 (2014): 25–50. http://dx.doi.org/10.17234/radovizhp.46.14.

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Fuller, C. J., John Stratton Hawley, and Donna Marie Wulff. "Devi: Goddesses of India." Journal of the Royal Anthropological Institute 3, no. 4 (December 1997): 801. http://dx.doi.org/10.2307/3034061.

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Ziffer, Irit. "Western Asiatic Tree-Goddesses." Ägypten und Levante 20 (2011): 411–30. http://dx.doi.org/10.1553/aeundl20s411.

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Haberman, David L., John Stratton Hawley, and Donna Marie Wulff. "Devī: Goddesses of India." Journal of the American Oriental Society 119, no. 1 (January 1999): 177. http://dx.doi.org/10.2307/605586.

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Xeravits, Géza G. "Goddesses in the Synagogue?" Journal for the Study of Judaism 48, no. 2 (April 18, 2017): 266–76. http://dx.doi.org/10.1163/15700631-12340143.

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This note deals with two panels of the west wall of the Dura synagogue, the details of which were interpreted by some scholars as probably connected to depictions of goddesses. Close investigation of these details, however, does not substantiate this view. The images, both in themselves and as parts of a larger composition, need not be interpreted as displaying conscious allusions to pagan female divinities.

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Leaver-Yap, Isla. "Pygmalion Desire inLes Goddesses." Afterall: A Journal of Art, Context and Enquiry 29 (January 2012): 27–36. http://dx.doi.org/10.1086/665543.

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Alis, David, Luchien Karsten, and John Leopold. "From Gods to Goddesses." Time & Society 15, no. 1 (March 2006): 81–104. http://dx.doi.org/10.1177/0961463x06062280.

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Saxton, Martha, and Elizabeth Pendergast Carlisle. "River Gods: And Goddesses." Women's Review of Books 21, no. 9 (June 2004): 10. http://dx.doi.org/10.2307/4024310.

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Lundgreen, Birte. "IMPERIAL WOMEN AS GODDESSES." Classical Review 48, no. 2 (October 1998): 438–40. http://dx.doi.org/10.1017/s0009840x98650022.

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Fernández Guerrero, Olaya. "Hera, The Perfect Wife? Features and Paradoxes of the Greek Goddess of Marriage." Journal of Family History 47, no. 2 (October 28, 2021): 115–31. http://dx.doi.org/10.1177/03631990211031280.

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In the ancient Greek polytheistic religion, Hera was considered the wife of Zeus and she was worshipped as the goddess of marriage. This paper analyses pre-Olympian references to Hera as an unmarried Great Goddess related to nature and fertility, and it explores from a critical perspective the origins and contents of her cult as Hera Teleia, the “perfect wife.” Mythological tales about her fights with Zeus, their conflictive relationship and his continuous love affairs with goddesses and women show us that the divine Greek model for human marriage was far from being a state of marital bliss.

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Birunthavanam, M. "Arur Vattara Thaitheiva Vazhipadu." Shanlax International Journal of Tamil Research 6, no. 3 (January 1, 2022): 194–200. http://dx.doi.org/10.34293/tamil.v6i3.4685.

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Many folk deities are worshiped in Tamil Nadu. Worship is an important part of the life of the folk people. Worship of the mother goddess precedes any event in the life of the folk people. This research paper focuses on the worship of the goddess in the divine thoughts in the life of Tamil’s. This article examines mother deities, mother deities in Tamil grammar, mother deities in ancient Tamil literature, descriptions of folk deities, characteristics and customs of folk deities, origin of deities, goddesses such as Devathiamman and Chenniyammal. This article is based on the beliefs of the goddess, especially from ancient times to the beliefs of the people of the Arur region.

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Collins, Gabriel Silva, and Antonia E. Foias. "Maize Goddesses and Aztec Gender Dynamics." Material Culture Review 88-89 (December 9, 2020): 1–19. http://dx.doi.org/10.7202/1073849ar.

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This article provides new evidence for understanding Aztec religion and worldviews as multivalent rather than misogynistic by analyzing an Aztec statue of a female deity (Worcester Art Museum, accession no. 1957.143). It modifies examination strategies employed by H. B. Nicholson amongst comparable statues, and in doing so argues for the statue’s identification as a specific member of a fertility deity complex—most likely Xilonen, the Goddess of Young Maize. The statue’s feminine nature does not diminish its relative importance in the Aztec pantheon, but instead its appearance and the depicted deity’s accompanying historical rituals suggest its valued position in Aztec life. As documented by Alan R. Sandstrom and Molly H. Bassett, modern Nahua rituals and beliefs concerning maize and fertility goddesses add to the conclusions drawn from the studied statue and suggest that historical Aztec religion had a complementary gender dynamic.

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